by Pier Paolo Maccarrone cellist

Today I propose to retrace the fascinating history of classical violineria The word violin making, in italian liuteria derives from the ancient word leùto, of which liut is modern and current meaning. It is indicating together with the art and technique of the construction of bow instruments (violins, violets, cello and contribasses) and more precisely than those remaining in use in our times after other varieties of the species have become extended to disuse (like love violets This is therefore in its own sense of today’s meaning of the term violin making, which no longer concerns the medieval liuts and mandolors, of which there were many many prototypes, as we can learn from the paintings of the painters of the fourteenth century and the fifteenth century, which therefore, by the field of violin making, understood in its specific meaning, other instruments that have also remained in modern use, such as mandolins and guitars, which are to be considered a bit like the poor relatives of the most important and solemn bow instruments. The term viola is therefore used today in a rather far away from that precisely to its etymological root. In the seventeenth century they are known as it is known, the first origins of the art of the violin. The historians, in fact, have played if this brilliant inimitable instrument was built for the first time – in its current technical-physical consistency – from Gasparo da Salò and Maggini di Brescia, or by Andrea Amati di Cremona. They also played if the violin was born for derivation from previous instrumental forms, which ones are used for ancient violets, or has been designed for rational design and almost for fire shock by the famous mathematician Niccolò Tarta

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The Cello and Its History ↙️ https://amzn.to/37rgm2s The Cello.

The Cello. Materials, Parts and Accessories. ↙️ https://amzn.to/3xcynr el chelo.

El Chelo. Materials, piezas y accesorios.↙️ https://www.amazon.it/dp/1074355253/ref=CM_SW_R_CP_AP_GLT_I_ZJ6JV49N2T

The bow. History and maintenance. ↙️ https://www.amazon.it/dp/1072445131/Ref=cm_sw_r_cp_apa_glt_i_gaqbehbygb8qfne1nm1k

The art of violin is born in Italian regional schools, because in Piedmont the first great artefice was Gioacchino Cappa from Saluzzo, a student of great Amati, and from his school other masters from Sorsana to Celoniato to the Guadagnini, and In Milan the origins date back to Giovanni Grancino, a student also of the Amati School, and from the Gridge, the other large Milanese large luthails such as Testor, Landolfi and Mantegazza were then derived; While the School of Mantua, with Pietro Guarneri, Tommaso Balestrieri and Camilli Camilli, reconnects directly to Cremona; All the lutails of the Venetian province, which in Venice are of direct Cremonese derivation, however, are rewarded in Venetian masters, of which they absorb the characteristics (so for example Zanoli and Obici di Verona, deconet of Padua, Pilizon of Gorizia Liguria draws his main exponent, Bernardo Calcagno, from the school of Stradivari, of which he was a student; While in Emilia violineria was implanted and widespread above all by the Tononi family of Bologna, trained in Cremona in the Amati shop; And in Campania, a distant area politically and geographically from Lombardy, Alessandro Gagliano di Napoli, a student of Antonio Stradivari, started the activity of that large family, which for over a century has incessantly gave a highly valuable production. Also the Tuscan School, which in the eighteenth century includes high-ingolated architects such as Gabrielli, the Carcassi brothers and the Gragnani, derives from the Cremonese school, to have followed the teachings is also through ways and shapes roughed by it And so also the Marche school that is headed to Odoardi, is clearly reconnect to the teachings of the Amati-Stainer binomial. These various groupings of artificia were portentously active in the second half of the seventeenth century (ie as soon as the construction technique unraveled by the initial tentism and could hover towards the highest heights), as well as throughout the eighteenth century, in the first Now, if even a total work arrest was not there, and certain derivation links were maintained (in Cremona for example the school of Storiioni was continued by Giovanni Battista Ceruti, and later by the son of these Joseph, and then from his nephew Enrico), because in At that time another one that begins approximately from the first of the nineteenth century, and that lasts until our present: this second period can be, in contrast to the first and to distinguish it from it, modern qualified. This distinction, however, as always happens for classifications in categories, must be understood Cum Grano Salis, and without absolval interpretations. It only has the mark value suitable to qualify two eras through which a link of continuity and derivation is also interior. And it should also be specified that the distinction from us post, if it is valid for Italian violineria, may not be at all with respect to the evolution in other countries: for example. France has had its best arteriors during the nineteenth century, in a person of Vuillaume and Lupot, so that this – and not the front one – must be considered the classical era. In Italy itself, the disappearance of the classical school did not happen in the same way everywhere: in Naples, for example, the Gagliano dynasty had so intense and widespread family offshoots that it, even after the great works of Alessandro, and his two sons Gennaro and Nicola, has maintained a very high prestige for a long time thanks above all to the four children of Nicola – Fernando, Giuseppe, Antonio, Giovanni – of which the last two have continued to work with excellent results up to the beginning of the nineteenth century.

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